π±ππΈπ½πΆπΈπ½πΆ π»πΈπΆπ·π π±π°π²πΊ ππΎ π»πΈπ΅π΄Β
Auditing Self through Muse

π±ππΈπ½πΆπΈπ½πΆ π»πΈπΆπ·π π±π°π²πΊ ππΎ π»πΈπ΅π΄Β
πΈπππ ππ’πππ ππππ ππ ππππ ππ’ ππππ π ππ ππππππ πππππππππΒ
π°π πππππ’-πππππ’ ππππ ππ πππππ ππππ π, ππππππ ππππ πππππ ππππππππ ππππ ππ
πΎ! ππππ πππππ ππππ ππ ππ πππ, πππππ ππππππππ’ ππ πππ ππ πΒ
πΈπππ πππππππ πππ πππππ ππ πππππππππ ππππππππ; ππππ πππππππ πππππππππ ππ πππππππππππππ’ ππππ πΒ
πΎ! π»πππ! ππ ππππ,Β
π° πππππππ ππππ, π ππππ ππππ ππ ππ πππππππ, πππππ πππππππ ππ, π°ππ ,ππ ππ , ππ πππ-ππππππ ππππππππππ’, ππππ πππ π ππππ, πππ ππππ : πΈ π ππ ππππ
πππ πππππππ πππππππ πππππ ππππππππ ππ ππππ π ππππππ ππππ ππππππππ ππΒ
π΅ππ ππππππ,Β ππ ππ πππ ππππππ,
π° π ππππππππ πππππ ππππππππ πππ ππππππ π, π°ππ ππΒ πππππππππππππ’β πππππ ππ πππππππ ππ
πππππππ, ππ’ πππππππ ππππππ πππππ πππ ππβπ ππ π π ππππ, πππππππππ ππππ ππ πππππ’ ππ
ππππππ’, ππ πππ ππππππ π’πππππ ππππππππ ππβπ ππ π πππππππ ππ π π ππππ ππ ππππππππππππ’ ππππ
ππ ππππ,Β ππ’ πππππ, ππππΒ ππππ ππππ ππ ππππ ππππππ, πππππ ππβπ ππ π ππππππππβ ππππΒ
π°ππ πππππππ, ππππππππ, π πππ πΈ ππππ ππ πππ ππ, πππ ππππππ πππππ πππππππ’ ππππ βππππ βππππππ’ π πππππ?!
ππππ πππ πππππππππ ππππππ ππππππ ππ πππ πππ’, ππ ππππππ, π πππ ππππ πππ ππππππ πππππππ’ ππππΒ
π°ππ, ππ ππ, ππππ πππ ππ ππ π ππππ, ππ ππ ππππ’ ππππ, πππππππ ππ πππ πππππ πππππππ‘ππππ πππππ
π±ππ, ππππ ππππππ ππ ππππ, πππ ππππ πππ’ ππππ ππππ π πππππππ ππππππ π·πππππ’, πΈ ππ ππππ ππ ππππ π πππ ππππππ ππππ πππππππππ ππππ
πππππ’ππππ, ππ ππ ππ, ππ ππππ πππππππ π ππππ ππ ππππππππ , πππ πππππππ ππ ππ ππππ πππππππ ππ.
πππ πππππππππ, πππ ππππ πππππππ ππ ππππ’ ππβπ πππππ, ππππ πππ πππππ, πππππ ππ’πππ ππππππβ¦
ππ ππππ, πΈ ππππ ππ β¦.
π°ππ ππ ππππ ππππ ππ ππ π πππ ππ πππππ ππππππππ πππππ βπππ πππππ πππππ, π πππ π’ππ πππ’: πΈ π ππ πππππππππππ...
πππ, πΈπππ πππππππ βππππ π ππππ, ππ’ πππππππ π ππ πππππ; π°ππ ππππ π ππππππππ ππ πππππππππππ, πΈ π ππ ππππ ππ ππ’πππππ !
π±ππ ππππ π ππ, π πππ πΈ π ππ π’ππππ, π πππ πππππππππ ππππ ππ πππππππ πππ ππππππ ππ ππππ ππΒ !
π²ππππππππ’ ππ, ππππ’ πππππ ππππππππ π πππ ππππ ππππππ ππππ ,
π°ππ ππππ’βπ πππ πππππ ππ π ππππ πππππππ, πππ ππ ππππππ, ππππ π ππππ πΈ π ππ ππππππππ’ πππππ π
π½ππ ππ ππππ ππ ππ πππππππ’, ππ’ πππππππ ππ ππππππππ, π πππ ππ ππππππ ππ ππππππππ’, ππππππ πππππππ’ πππ ππππΒ
πππ, ππππ π πππ πππ πππ πππ πππ ππ, πππ ππππππππ ππ π πππ πππ ππ π πππππππππ πππππ πππππππ’ πππππππ ππ πππππβππ ππππππππ’ πππππβ¦
πΎ! π»πΈπ΅π΄ β¦ππ ππππ ππππππ πππππ ππππππ πππππ
ππππ, ππππ ππ ππ πππ ππ πππ‘ ππππππ ππ ππππππ ππππ πππππππ πππππ
π΅ππ ππ ππ ππππππ πππππ π πππ πππππππππππ, ππππ ππ ππππππ, πππππ’ πππππππ πππππππ’ ππππππ ππ ππππππ β¦.
π°ππ ππ πππ ππ πππ ππΒ ππ πππππ, ππππ ππππππππ ππ ππππ πππππ ππππππππ ππππ
πΎππ ππππ ππππ’ πππππ π πππ ππππππ ππππ πππ, ππππ ππππ ππ ππππ ππ πππππ πππππ ππππππ πππππππ ππ πππ ππππππππ, πππππππ πππ ππππππ βππ ππ βππ ππ βπππππππ’ ππππππ.β
ππ ππππ ,Β πππππ πππππππππ πππ πππππππππππππΒ ππππππππππππ ππ’ ππππ,
ππ πππ ππππππ ππ ππππππ βππππ ππππππππβπ πππ
ππ ππππ ππ , ππππππππππ, πππ π πππ πππ πππ ππ‘ππππππ ππππππ, πππππ ππππ πππππππ πππππππππππππ ππππ
π°ππ πππ πππππ’ πππππ πππ Β πππ’ πππππ πππ πππΒ ; πππ πππππ ππ π ππ πππ βπππππππ’βππππ πππ ππππ β
πΏππππππ πππππ, ππ’ ππΈπ»π»,Β πππ πππππ π ππππππ ππ ππ’ ππππππππππ ,ππππ- ππππππ ππ ππ πππππππ ππππ βπ πππ πππππ πππ!
πππππππππ’ ππππππππππ, ππππππππ ππ ππππ πππππ πππππππ; πππ ππ πππππππππ’, πΈ π ππ πππππππππ’ ππππππππππ
π²ππππππππ’, ππππ ππΈπ»π» βπ ππππ πππππ π πππ, ππ πππππππΒ ππ’ ππππππβ πππππππ ππππππ, ππππ ππππ as if ππππ ππππππ oπππππed ππππππ to be ππππ πππ πππππ β¦
ππππ! ππππ ππ π ππππ π π ππ‘ππππ πππ πππππ, ππππππππππ πππππππ ππππ ππππππ ππππππ
πππ’βπππππππππ ππ, πΎ!Β π»πππ, ππππ π ππΈππ΄ ππππππ ππ?Β
πΎπ π πππ π ππππ ππ ππππ ππππππ π πππ ππππππβπ πππππ’β πΏππ’π π πππππ’ πππππ ππ πππππ’ πΎππππΒ
πΈπ ππππ ππππ ?Β
πππ, Β ππβπ ππππ βππ πππ ππππ, π πππ ππβπ πππππ ππ πππππππππ’, ππππ πππππ π ππππππ ππππ ππ ππππππΒ
πππππππππ ππππππππππ ππ πππππ’ πππππππ ππ πππ πππππ, πππ ππ πππππ’ ππππ πππππππ ππππ; ππ πππππππππ ππππππ ππ ππππ πππππππ ππ ππππ, πππππππ’ πππ ππππβ¦ ππππ πππππ ?!
π°ππ ππππ, π πππππ πππππππ ππππππππ ππππππ π ππ ππ πππππ; πππππππ’ πππππ ππ ππππππ πππ πππππ,
πΎππ πππππ ππ ππ πππππ’ πππππππ...
πΈπ πππ πππππΒ πππππππππππ, ππ ππππ ππ, πππππππ ππ, πππ π’ππ πππππππ βπππππ πππππ ππ ππ ππππππ Β
πππ , πππππππ ππππ ππ‘πππππππ π ππππ πππππ ππβπ πππππ ππππππ, πππ πππππππππ, πΈ πππππ ππ πππ ππ’ π±πΎππ½ ....
πΏππππππ ππππ π πππππππππππ ππ πΈ π πππ πππππππ πππππ πππππππ πππππ, πππππ πππππππ
πππ, πππππππ ππ πππππ ππ ππ πππππ ,ππ’ πππππ, πππππ ππ , ππππππ’, ππππππππππ!
πππ ππππ πππππππ’ π ππππ ππππππππππ’ πππππππππππ ππ ππππ πππππ ππ πππππππ, πππππππ ππ πππ’ βΒ π²πππ, πππππ πππ ππππ ππ πππππ πππ ππππππ πππ ππππ πππ π’πππ πππππ’ π πππ ππ πππ ππππ βπππππ ππππ, πππππ’ ππ!
Β© βοΈ πΌππππ πΆπππππ πΌππππ πΈπ½ππ , πΈ0πΈπ»
Preceding poem is a choice model of my poetry, to which, I shall add my introspective analysis ( my two cent βpoint of view)
I undertook the endeavor of scribing poetry to make myself familiar with my own thoughts and also aid the readers to equally fit into its meaning as it occurred to them.
I am of the firm belief that many matters when versed aright, can assist in providing pathways of communication; without losing what is being said as precious leavings. If you notice intently I have abstained from period building βthat is, presenting a single idea without full stops. Thatβs because I felt that the unity of thought required me to use semicolon and colons to piece in what I was thinking.
While composing this poem the object of attention(life) appeared naturally, but it was also suitably written to the clear ideas thus acquired. Obviously, the words and phrases related in such a sense were discharged with what they served to show in effectββbringing life back to life. β
In this poem words as expressive thoughts have conveyed multifarious ideas and many meanings. Some words analogously paralleled each other in the following words such as : topsy turvey, untenable breaches. They adduced a bondage that developed as a reasoning ,no doubt, for the preservation of why I was looking at βfate,β with such a concern. I used many figures of thought as ornaments to orchestrate and impart special expressions. For example:
O! Look! Β
A subdued pang , a dead beat to an impulse, still lingers onΒ
And ,as of , in cut-throat melancholy, none the worse, to that : I was found!
Herein βοΈ I tried to throw a towel over the hideousness with which many stately administrators could govern their people by creating circumstances wherein the
surest of us all could feel nothing more than nincompoops. One such thing could be the recent political upheavals around the globe that depicts: vehemence of various injustices , peace without securities, and wars without definite Allies.
While reading the poem the reader might feel aroused to what might come next.
To me, naked thoughts when properly dressed becomes poetry.
My poem bestows the requisite rhetoric to make deeper courtesies to the significant thoughts that emerge in my mind.
Muse is meant to be more than a superficial scrimmage over sense and sensibilities. This is the chief reason I preferred to use a free verseβas my poetic form of expression. The marvel of uncommon strikings of imagery (through words,) is,indeed, glorious.
Herein, the prosaic effort lifts itself through its own imagined suffering.
An inflexible mind might reject such a suffused expression as some askewed structure or form.
Meaning can be lost in structure unless the eye speaks to an ear effectively. Also, if the heart insists on putting its own meaning upon first inspections, then the reader may embark upon a dangerous crusade to where words could ring a different tone.
The poem selected as a precept of expression reflects the following:
Cohorts of present participles ( βingβforms of verbs) are conjoined with other alongside actionable subordinating verbs.
This method may seem to be projecting appalling directness but by no means intends to be unusually absurd.
The poem projects surrealistic nostalgia that may not appeal with a good many readers.
Little pieces build together with phrases and clauses, both buried hand in hand, can seem like stand alone entities, yet such an unmade fashion upends the truest essence of a soulful exposition.
Rhyme and Rhythm: The scheme is proportionate yet it
seems to be moving, up and down all over around, with a sudden impulsiveness ,as though, abruptly holding moldy secrets . That may well be seem like errors renouncing on grave mistakes with meanings suspended from the beginning to the end. In that sense the whole piece could feel enigmatic. The poem stands without glory, possibly at the verge of imagined melancholy. With that said, I have risked every ray of light; in great aims , thoroughly. But, in small, my earnestness reveals an invincible resolution to bear β awe,β as the most unfaltering practice.
I speak meaningfully to the phrases that reflect some originality. Talk about conjunctions periods commas and colons β¦.
The melancholic π emotion may not be relatable to the immediate effect of observationβ¦
A Lot of abstraction breaks convention, though. But beyond whatβs being portrayed, thereβs something else that stands within reach βthe unifying theme of the versificationβ¦. Thereβs a positive ending
Soliloquy Synopsis Β :
Itβs shadowy and allegoric .. somewhat , a more generalized abstraction of life . There is, again , a confession that is very shocking; itβs mainly about the causes of the dubieties that have worked into my life βall along.Β
Perhaps , it exhibits the extreme sentiments ,and sketches out a cloudy illusion of events and incidents in a Β peculiar kind of way.
Towards the end of the poem, it dashes into a unifying theme of how fate and fortune lead us into a transcendence which is timelessly eternal . Not else where achieved , it bothers and teases the way life probably cheats .Β
The poem captures the brooding spirit thatΒ courageously seeks hope,
and it also delineates a double attempt to exhibit the contrasting parallels of joys and sorrows, failures and successes which cudgel as elements in shaping life.
In a steady sense, this poem ingenuously Β summoned me to dig deep βapparently, upon lifeβs incidental contexts.Β
The description speaks up commandingly without a hitch!Β
... And the rest thatβs unsaid could be left to those who beseech their own form through this offering. I hope this goes along in giving the reader a sense of connection to follow theirΒ own βtruth reveals.
In short and at length, throughput, I had depicted life as deceptive and presented material that makes us look like a motley fool while handling deceit.
And the spice of injustice which quite certainly reveals in the end turns out to be quite ironic... as if, echoingβWhat is alive is seldom truly perfect. And to attain perfection one must dig graves or write epitaphs to understand the good in the good and bad in the bad.
Smooth sweltering velvety experience expressed smoothly
Such scavenging unearths the smooth deficiencies constituting the makings of destinies, and in one sense of the subject βreveals and amounts to this:
Life comes with no warrants of excise and no guarantees of analysis as βit is wholly surprising. It exists in the inter-twists of an extraordinarily different form of amalgam which represents this legitβΒ premise :Β
Whatβs construed as a cognitive enterprise is actually an adjudication of perspective to life!
All experiences that life bestows upon us as teachings may or may not assist us in achieving itβs full intents.
For Good or for bad , andΒ for better or worse, someΒ instances, seemingly alter the very essence of our presence;Β of living as a βbeing,β in itself.Β
Signing off as :
A rhymester with an authentic risible view β call me a dallier dilettante or a librettist ! MG
About the Creator
Madhu Goteti
The thrums in the strums and the delights in the humdrum of life have always fascinated me.
Itβs that feast of reason and flow of soul; in all that I see and all that I shall behold!
I am an avid lover of art and philosophy!



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